Charles Lloyd Charles Lloyd Charles Lloyd Charles Lloyd!

Just heard the New Quartet, with Jason Moran, Rueben Rogers, and Eric Harland here in Buffalo -- right in front of him, about 20 feet away... Inspiring, astonishing, stunning! I had to remind myself to breath from time to time. 2011 is young, but it's gonna be hard to top this performance this year! Anyways...

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I like Charles Lloyd. I enjoy his recordings. But: LIVE: man, I was *gobsmacked*! I expected it to be great, but it was almost ... I don't know ... you could laugh and cry and hug the person next to you because you were sharing something so stunning and rare. I'll stop now, but I just did not expect that. I expected, you know, a really ripping jazz performance. The thing was that, but it was also something else. It's why I love this music.

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Kelly, I know what you're talking about. When I saw him with the same musicians at Ottawa's Jazz Festival two years ago I cried ,laughed ,felt buzzed, was stuck dumb,spontaneously got up and danced...all this and an extremely impressive jazz show too. Charles Lloyd is the real deal!!!

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Cool! I've never had the chance to see him! Does he still play a Conn tenor?

Martin "Dick Stabile" Tenor: Barone Jazz 7*/GW7

"The spiritual life is built upon a commitment to truth telling and truth living. As master jazz musicians, [John Coltrane and Miles Davis] presented their spirituality within the reality of cool." --Farah Jasmine Griffen and Salim Washington

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Besides the high artistic integrity, Charles is a master at choosing his sidemen. But contrary to others, I was a bit disappointed with his last CD, Mirrors. I own virtually every Charles Lloyd CD and this last one is basically a remake of songs from other CDs. Also, his intonation isn't as tight as it has been in other records. Still, a good CD. My favorite of his is "Canto".

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Off: he is indeed the real deal. I haven't checked out his stuff in, oh, the last decade or so, so I'm looking forward to checking it all out...

Rory: he was indeed playing some sort of Conn -- split bell keys, so I guess that's not a 10M -- and appeared to be gold-plated...

That afternoon, before the gig, I'd practiced on my 10M, because my VI needs some work -- and seeing CL hours later playing a Conn made me feel like -- okay, let's give this thing a shot for a while...

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One of the great memories I have is Charles Lloyd, Keith Jarrett, Cecil McBee and Jack DeJohnette at the Fillmore East, maybe '69 or '70 (hard to say,IYKWIM).

But his latest recorded works are just beautiful and I need to go!

Forest Flower!

The live album from the Soviet Union was one of my first jazz records. I went to the 2nd-hand shop looking for Forest Flower and that was the one they had.

Martin "Dick Stabile" Tenor: Barone Jazz 7*/GW7

"The spiritual life is built upon a commitment to truth telling and truth living. As master jazz musicians, [John Coltrane and Miles Davis] presented their spirituality within the reality of cool." --Farah Jasmine Griffen and Salim Washington

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He has traveled with one or two gold plated Conn tenors for many years. I am not certain but I believe they are New Wonders and not New Wonder II's. His sound on all his instruments is really something sublime.

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Off: he is indeed the real deal. I haven't checked out his stuff in, oh, the last decade or so, so I'm looking forward to checking it all out...

Rory: he was indeed playing some sort of Conn -- split bell keys, so I guess that's not a 10M -- and appeared to be gold-plated...

That afternoon, before the gig, I'd practiced on my 10M, because my VI needs some work -- and seeing CL hours later playing a Conn made me feel like -- okay, let's give this thing a shot for a while...

jlima: thanks for the suggestion of Canto -- I'll check it out...

Kelly, definitely give the 10M a shot for a while. I just got mine back earlier tonite from my repairman. It certainly has a vibe that no Selmer can quite catch. Especially a VI. I can only imagine how different the 10M feels (and blows) to you compared to your VI. The feel of my 10M isn't incredibly different from my Super, but when I play the two horns back to back, it's amazing how much more spread and "tubby" the 10M is, even compared to what I think is already a fairly spread/tubby sounding Super that I own.
CL's Conn sounds to me like a "Chu", since you mentioned the bell keys being on both sides.

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Originally Posted by jgreiner

Kelly, definitely give the 10M a shot for a while. .

Hey, John! Yeah, man, I'm definitely going to stick with the Conn for a bit -- it's got a really great character to the sound. I played it at my regular Monday night jazz extravaganza, and the bass player was raving about how much he digs the Conn tenor sound, and said he can always tell when someone's playing one!

The ergos are actually very doable -- I'm mean, how could I say they ain't, since I've just heard Charles Lloyd do whatever the hell he wanted with impunity, and can watch Dexter et al on YouTube being as nimble as can be!

The only issues I have are with the balance of the horn, and with the G# trill key, which kind of flops around a bit while I'm playing... But: I'm dealing!

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omg, who else was on that ticket? Must have been a mind blowing evening to say the least.... little before my time, seeing Count Basie around 1980 was one of my first jazz experiences...

shawn

I think it was the Paul Butterfield Band(with Sanborn and Gene Dinwiddie on saxes). Probably more likely '69.
For folks who never heard Dinwiddie- what a killer tenor player, via Chicago and an early member of the AACM there.